The Barber Of Seville | Operas | Season And Tickets | Opera Carolina The Barber of Seville The barber will see you now Saturday, October 22nd - 8:00 pm Thursday, October 27th - 7:30 pm Sunday, October 30th - 2:00 pm Buy Tickets The Barber of Seville / Il barbiere di Siviglia Bugs Bunny once did a version of The Barber of Seville. But Rossini did it first. The comic opera lends itself to being lampooned and “cartooned.” It’s a wild adventure filled with gossip and secrets where a happy ending is guaranteed. Synopsis Rossini’s The Barber of Seville is so embedded in popular culture, Bugs Bunny sampled its songs. It’s a madcap romp involving disguises; false identities; and a busybody, matchmaking barber. Multiple suitors are vying for the same woman’s affections in an opera so slapstick, it was suitable material for a cartoon. In the original version, the tunes aren’t looney. They’re lyrical.

Libretto by Cesare Sterbini from the comedy by Pierre-Augustin Caron de Beaumarchais The story takes place in 18th century Seville. Accessibility Options English Supertitles Provided During The Performance Act I Count Almaviva comes, in disguise, to the house of the elderly Dr. Bartolo to serenade his young ward, Rosina. Dr. Bartolo intends to marry Rosina, and he’s confined her to his house. Figaro, the titular barber, has access to the homes of Seville’s elite. He knows the town’s secrets and scandals. He arrives at Dr. Bartolo’s home and pledges his help to Count Almaviva, who takes on the persona of “Lindoro,” a poor student who hopes young Rosina will love him not because he’s a nobleman, but for himself. To enter Bartolo’s house, Figaro devises a plan: The Count will disguise himself as a drunken soldier with orders to be quartered at Dr. Bartolo’s. Then, he can declare his love for Rosina. Scene Two.

Alone in the house, Rosina reflects on the voice that has enchanted her and resolves to use her considerable charm to meet “Lindoro.” Dr. Bartolo enters with Rosina’s music master, Don Basilio, who warns him that Count Almaviva (Rosina’s admirer) has been seen in Seville. Dr. Bartolo decides to marry Rosina immediately – before any other suitor can have her. Figaro overhears this, warns Rosina and promises to deliver a letter from her to “Lindoro.” Disguised as a drunken soldier, Almaviva passes Rosina a note, which she manages to hide from Dr. Bartolo, who argues that he has exemption from housing soldiers. An argument ensues between the Count and Dr. Bartolo. Figaro enters and announces that a curious crowd has gathered in the street. The city guards burst in to arrest the drunk and disorderly soldier. The Count quietly reveals his true identity to the captain of the guards. He’s released, to Dr. Bartolo’s chagrin and everyone’s amazement. Act II Dr. Bartolo, alone in his study, suspects the “drunken soldier” was a spy.

The Count returns, this time disguised as Don Alonso, a music teacher and student of Don Basilio. He says he’s come to give Rosina her music lesson instead of Basilio, who’s at home sick. “Don Alonso” tells Dr. Bartolo he’s staying at the same inn as Almaviva and has found Rosina’s letter. He offers to tell Rosina it was given to him by another woman, proving Lindoro is toying with her. This convinces Dr. Bartolo that “Don Alonso” is a true student of Don Basilio, and he allows him to give Rosina her music lesson. Figaro arrives to give Dr. Bartolo his shave and manages to snatch the key that opens the balcony shutters. The shaving is about to begin when Don Basilio shows up looking perfectly healthy. To get the meddlesome Basilio out of the way, Figaro convinces him he has scarlet fever and should go to bed at once. With Basilio out of the way, the shaving begins and distracts Dr. Bartolo from hearing Almaviva plotting with Rosina to elope that night. But Dr.

Bartolo hears the phrase “my disguise” and realizes he’s been tricked again. Later that evening, Basilio is summoned by Dr. Bartolo and is told to bring a notary so Rosina and Bartolo can be married. Dr. Bartolo then shows Rosina her letter to Lindoro as proof that Lindoro is tricking her. Convinced she’s been deceived, she agrees to marry Dr. Bartolo and tells him of the plan to elope with Lindoro. After a thunderstorm, Figaro and the Count climb over the wall into Bartolo’s house. Rosina is furious with them, until Almaviva reveals his identity and professes his love for her. Basilio arrives with the notary. Bribing and threatening him, Basilio agrees to be a witness to the marriage of Rosina and Count Almaviva. Dr. Bartolo arrives with soldiers, but it’s too late. Count Almaviva explains tells Dr. Bartolo that it’s useless to protest, and Dr. Bartolo accepts he has been beaten. Figaro, Rosina and the Count celebrate their good fortune.

POPOpera Facts If you think opera is nothing but drama and death, you haven’t seen Rossini’s The Barber of Seville. But you’ve undoubtedly heard its music. Both Bugs Bunny and Woody Woodpecker sampled its songs. The Looney Tunes version, The Rabbit of Seville, is almost as zany as Rossini’s original. If you like the antics of The Three Stooges, then The Barber of Seville is not too silly for you. Disguises, false identities and a busybody, matchmaking barber are all part of the plot. The comedy is broad and physical. It’s no wonder cartoons adapted the theme and music. And after all the laughs, there is, of course, a happy ending. Meet the Composer Gioachino Rossini (1792-1868) Known as Italian opera’s comic genius and the leading opera composer of the first half of the 19th century, Gioachino Rossini was the master of simple melody and clear rhythm.

Born in 1792 to a musical family – his father a trumpet player, his mother an opera singer – Rossini mastered the trade at an early age, writing his first opera at age 8 and becoming a national celebrity by the time he was 21. From Venice to Milan, from Rome to Naples, Rossini gained a reputation for his notable style and his uncanny speed at producing operas. Between 1808 and 1829, Rossini composed no fewer than 40 operas. Among his greatest successes are The Barber of Seville (1816), La Cenerentola (1817), La Gazza Ladra (1817), Semiramide (1823) and William Tell (1829). His comic masterpiece, The Barber of Seville, has delighted audiences of all ages for nearly 200 years. Also bearing the title The Useless Precaution, the opera was an instant sensation in Italy and shortly thereafter throughout Europe as the quintessential opera buffa.

(That’s Italian for “comic opera.”) Based on Beaumarchais’ play , The Barber of Seville is sometimes referred to as the first modern Italian opera. Written by the then-23-year-old composer, The Barber of Seville came at a time when Italian audiences were still amused by the farcical operatic conventions of opera buffa. While The Barber is often referred to as an Italian opera buffa, it is the true precursor to subsequent lyric comedies such as The Elixir of Love, Don Pasquale and even Verdi’s Falstaff. Rossini composed The Barber of Seville in just three weeks, with the exception of the now famous overture, which he borrowed from his own opera Aureliano in Palmira. In 1822, Rossini settled in Paris and became the Royal Composer and Inspector General of Singing in France. Despite his enormous success – even Beethoven congratulated him on The Barber of Seville – Rossini stopped composing at the age of 37. Living off the wealth of his achievements, Rossini lived lavishly until his death in 1868.

He was buried in Paris but 19 years later his remains were re-interred in the church of Santa Croce in Florence. Meet the Cast Gioacchino ROSSINI - the Italian opera composer in a nutshell Gioacchino ROSSINI 29 February 1792 - 13 November 1868 (age 76) Gioachino Rossini was an Italian 19th century composer. Together with Bellini and Donizetti he was one of the main proponents of 'Bel Canto' opera. Father: Giuseppe, horn player and slaughterhouse inspector Mother: Anna Guidarini, a singer and baker's daughter Siblings: none 1st wife: Spanish soprano Isabella Colbran 2nd wife: His first wife died in 1845, and on August 16, 1846 he married Olympe Pélissier, Children: none The Italian Girl in Algiers La Cenerentola The Lady of the Lake Sacred Music: Riccardo Muti conducts Travels and career Childhood - His father (a trumpeter) and his mother (a singer) encouraged his musical talents.

He learnt to play the piano, the harpsichord, the violin, the cello the horn and he was a singer in the church choir. Age 13 - composed his first opera Demetrio e Polibio although it wasn't staged until six years later. Age 14-18 studied at the Conservatorio di Bologna. He was drawn to the works of Haydn and Mozart for which he was nicknamed 'Il tedeschino' (the little German). Age 18 - First public staging of one of his operas: 'La Cambiale di Matrimonio' in Venice. Age 18-23 - Produced various operas in Bologna, Venice, Milan and Rome the most successful of which was 'Tancredi'. Age 23-30 - He was made artistic director and official composer of the royal opera houses of Naples, including the prestigious Teatro San Carlo. He composed 20 operas during this period including 'The Barber of Seville' and 'Cenerentola'. Age 30 - Married Isabella Colbran who was the leading soprano at Naples. She was also the mistress of his boss! Not surprisingly he soon returned to Bologna.

Age 31 - Invited to London by the manager of the King's Theatre where he completed a 5 month residency. He was introduced to King George IV. Age 32 - He settled in Paris where he was apponted musical director of the Théâtre-Italia, Chief Composer to the King and Inspector General of Singing in France. Age 37 - Staged his final opera - 'Guillaume Tell' ( 'William Tell') and retired from composing opera. For the next 39 years he composed no operas and only pieces for his own satisfaction, for example his 'Stabat Mater' and a Mass. Age 45 - Left Paris to live in Bologna. Age 53 - His wife Isabella died. The next year he married Olympe Pélissier, with whom he had been living for the previous 15 years. Age 63 - returned to Paris where he lived until the end of his life. Age 76 - Died.

He was buried in Paris but in 1887 his remains were moved to the Basilica di Santa Croce, in Florence, Quotes - "Give me a laundry list and I'll set it to music." - "Every kind of music is good, except the boring kind." - "Answer critics with silence and indifference. It works better, I assure you, than anger and argument." - "Eating, loving, singing and digesting are, in truth, the four acts of the comic opera known as life, and they pass like bubbles of a bottle of champagne. Whoever lets them break without having enjoyed them is a complete fool." - "Wagner is a composer who has beautiful moments but awful quarter hours" - "One can't judge Wagner's opera Lohengrin after a first hearing, and I certainly don't intend to hear it a second time" Images of Rossini A fascinating collection of images - art, portraits, caricatures, cartoons, album covers and postage stamps. Cenerentola (Cindarella)- Finale Act 1 Orchestra Teatro alla Scala,Claudio Abbado conductor.

L'italiana in Algeri The Thieving Magpie Overture Festivals While his operas are performed regularly all over the world, there are two festivals specifically dedicated to Rossini Pesaro Festival This is an annual festival held in the seaside town on the Adriatic where he was born. This year, 2013, is the 34th. Dates: 10 - 23 August Knoxville Rossini Festival and Italian Street Fair, Tennessee This annual festival combines world class opera performances, art and craft exhibitions, wine tasting, and a wide variety of other events with a vibrant Italian Street Fair. Held in April - the 2013 festival will be the weekend of 27th April Links - Where to go for more information Answers.com Gioachino Rossini: Composer's life & music | Classic FM Gioachino Rossini Biography Gioachino Rossini (1792–1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces.

Life and Music Having produced a whirlwind series of 38 operas, following the premiere of William Tell in August 1829, and with close on 40 years of life still remaining, he laid down his operatic pen for ever. Perhaps Rossini had finally had enough, as he was once reputed to have remarked: "How wonderful opera would be if there were no singers!" Rossini was born in Pesaro in 1793, the son of a town trumpeter-cum-inspector of slaughterhouses, whose questionable political sympathies once resulted in a short jail sentence. The family was otherwise constantly on the move, Rossini's mother appearing as a principal singer in a series of comic opera productions, while the budding young composer learned his craft, based in Bologna. He composed his first opera, Demetrio e Polibio, while still a student at the Liceo Musicale in Bologna, where his love of Mozart led to his being nicknamed, "the German". Such was its success that it led to a series of operatic ventures which initially culminated in the Barber of Seville.

When Donizetti heard that Rossini had composed it in a matter of just three weeks, he remarked sardonically: "Rossini always was a lazy fellow." Rossini's stage output culminated in the premiere of William Tell in Paris in 1829, after which he virtually stopped composing, save for a few songs, piano pieces and two famous large-scale choral works - the Stabat Mater and the Petite Messe Solennelle . Rossini died at his villa in Passy on 13 November 1868 following a short illness. Having initially been buried in Pere Lachaise cemetery in Paris, his remains were subsequently moved to Santa Croce in Florence in 1887. Did you know? For Rossini's 70th birthday celebrations in 1862, a number of his friends clubbed together in order to have a statue built in his honour. His reaction was typically boisterous: "Why not give the money to me and I'll stand on the pedestal myself!" Vienna State Opera - La Cenerentola Vienna State Opera There are no products matching the selection. Description Rossini's La Cenerentola tells the familiar fairy tale of Cinderella anew.

A work full of wit, a wealth of melodies and burlesquesituations. La Cenerentola (Cinderella, or Goodness Triumphant) is an operatic dramma giocoso in two acts by Gioachino Rossini. The libretto was written by Jacopo Ferretti, based on the fairy tale Cendrillon by Charles Perrault. The opera was first performed in Rome's Teatro Valle on 25 January 1817. Rossini composed La Cenerentola when he was 25 years old, following the success of The Barber of Seville the year before. La Cenerentola, which he completed in a period of three weeks, is considered to have some of his finest writing for solo voice and ensembles. Rossini saved some time by reusing an overture from La gazzetta and part of an aria from The Barber of Seville and by enlisting a collaborator, Luca Agolini, who wrote the secco recitatives and three numbers (Alidoro's "Vasto teatro è il mondo", Clorinda's "Sventurata!" and the chorus "Ah, della bella incognita").

The facsimile edition of the autograph has a different aria for Alidoro, "Fa' silenzio, odo un rumore"; this seems to have been added by an anonymous hand for an 1818 production. For an 1820 revival in Rome, Rossini wrote a bravura replacement, "La, del ciel nell'arcano profondo". The light, energetic overture has been in the standard repertoire since its premiere as La Cenerentola. Gioachino Rossini: Biography - Classic Cat Gioachino Rossini 29 feb 1792 (Pesaro) - 13 nov 1868 (Passy) Buy sheetmusic from Rossini at SheetMusicPlus Gioachino Rossini in 1820 Gioachino Antonio Rossini [1] (February 29, 1792 – November 13, 1868) was an Italian composer who wrote 39 operas as well as sacred music , chamber music , songs, and some instrumental and piano pieces.

His best-known operas include the Italian comedies Il barbiere di Siviglia (The Barber of Seville) and La cenerentola and the French-language epics Moïse et Pharaon and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart." Until his retirement in 1829, Rossini had been the most popular opera composer in history. [2] Contents Biography Early photograph of Gioachino Rossini (Ransom Humanities Research Center, The University of Texas at Austin) Gioachino Antonio Rossini was born into a family of musicians in Pesaro , a town on the Adriatic coast of Italy. His father, Giuseppe, was a horn player and inspector of slaughterhouses. His mother, Anna, was a singer and a baker's daughter. Rossini's parents began his musical training early, and by the age of six he was playing the triangle in his father's musical group. Rossini's father was sympathetic to the French Revolution and welcomed Napoleon Bonaparte 's troops when they arrived in northern Italy.

When Austria restored the old regime in 1796, Rossini's father was sent to prison and his mother took him to Bologna , making a living as a leading singer at various theatres of the Romagna region. Her husband would ultimately join her in Bologna. During this time, Rossini was frequently left in the care of his aging grandmother, who had difficulty supervising the boy. He remained at Bologna in the care of a pork butcher while his father played the horn in the orchestras of the theatres at which his wife sang. The boy had three years of instruction in the playing of the harpsichord from Giuseppe Prinetti , originally from Novara , who played the scale with two fingers only; Prinetti also owned a business selling beer and had a propensity to fall asleep while standing. These qualities made him a subject for ridicule in the eyes of the young Rossini. Education He was eventually taken from Prinetti and apprenticed to a blacksmith. In Angelo Tesei , he found a congenial music master, and learned to sight-read, play accompaniments on the piano and sing well enough to take solo parts in the church when he was ten years of age.

Important from this period are six sonate a quattro, or string sonatas, composed in three days, unusually scored for two violins, cello and double bass. The original scores were found in the Library of Congress in Washington DC after World War II , dated from 1804 when the composer was twelve. Often transcribed for string orchestra, these sonatas reveal the young composer's affinity for Haydn and Mozart, already showing signs of operatic tendencies, punctuated by frequent rhythmic changes and dominated by clear, songlike melodies. In 1805 he appeared at the theatre of the Commune in Ferdinando Paer 's Camilla, his only public appearance as a singer. He was also a capable horn player, treading in the footsteps of his father. Around this time, he composed individual numbers to a libretto by Vincenza Mombelli called Demetrio e Polibio , which was handed to the boy in pieces. Though it was Rossini's first opera, written when he was thirteen or fourteen, the work was not staged until the composer was twenty years old, premiering as his sixth official opera.

In 1806 Rossini became a cello student under Cavedagni at the Conservatorio di Bologna. The following year he was admitted to the counterpoint class of Padre Stanislao Mattei (1750–1825). He learned to play the cello with ease, but the pedantic severity of Mattei's views on counterpoint only served to drive the young composer's views toward a freer school of composition. His insight into orchestral resources is generally ascribed not to the strict compositional rules that he learned from Mattei, but to knowledge gained independently while scoring the quartets and symphonies of Haydn and Mozart . At Bologna, he was known as "il Tedeschino" ("the Little German") on account of his devotion to Mozart. Early career Through the friendly interposition of the Marquis Cavalli, his first opera, La cambiale di matrimonio (The Marriage Contract), was produced at Venice when he was a youth of 18 years. But two years before this he had already received the prize at the Conservatorio of Bologna for his cantata Il pianto d'Armonia sulla morte d’Orfeo.

Between 1810 and 1813 at Bologna, Rome, Venice and Milan, Rossini produced operas of varying success, most notably La pietra del paragone and Il Signor Bruschino , with its brilliant and unique overture. In 1813, Tancredi and L'italiana in Algeri were even bigger successes, and catapulted the 20-year-old composer to international fame. The libretto for Tancredi was an arrangement by Gaetano Rossi of Voltaire 's tragedy Tancrède. Traces of Ferdinando Paer and Giovanni Paisiello were undeniably present in fragments of the music. But any critical feeling on the part of the public was drowned by appreciation of such melodies as "Di tanti palpiti... Mi rivedrai, ti rivedrò", which became so popular that the Italians would sing it in crowds at the law courts until called upon by the judge to desist. Gioachino Rossini, painted circa 1815 by Vincenzo Camuccini By his 21st birthday Rossini had established himself as the idol of the Italian opera public.

He continued to write operas for Venice and Milan during the next few years, but their reception was tame and in some cases unsatisfactory after the success of Tancredi. In 1815 he retired to his home in Bologna, where Domenico Barbaia , the impresario of the Naples theatre, contracted an agreement that made him musical director of the Teatro San Carlo and the Teatro Del Fondo at Naples. He would compose one opera a year for each. His payment was to be 200 ducats per month; he was also to receive a share from the gambling tables set in the theatre's "ridotto", amounting to about 1000 ducats per annum. This was an extraordinarily lucrative arrangement for any professional musician at that time.

He visited the Naples conservatory, and, although less than four years senior to Mercadante , he said to the Director Niccolò Zingarelli , "My compliments Maestro - your young pupil Mercadante begins where we finish." [3] Some older composers in Naples, notably Zingarelli and Paisiello , were inclined to intrigue against the success of the youthful composer, but all hostility was rendered futile by the enthusiasm that greeted the court performance of his Elisabetta, regina d'Inghilterra , in which Isabella Colbran , who subsequently became the composer's wife, took a leading part. The libretto of this opera by Giovanni Schmidt was in many of its incidents an anticipation of those presented to the world a few years later in Sir Walter Scott 's Kenilworth . The opera was the first in which Rossini wrote out the ornaments of the airs instead of leaving them to the fancy of the singers, and also the first in which the recitativo secco was replaced by a recitative accompanied by a string quartet .

The Barber of Seville (Il barbiere di Siviglia) Isabella Colbran Rossini's most famous opera was produced on February 20, 1816, at the Teatro Argentina in Rome. The libretto, a version of Pierre Beaumarchais ' stage play Le Barbier de Séville , was newly written by Cesare Sterbini and not the same as that already used by Giovanni Paisiello in his own Barbiere, an opera which had enjoyed European popularity for more than a quarter of a century. Much is made of how quickly Rossini's opera was written, scholarship generally agreeing upon two or three weeks. Later in life, Rossini claimed to have written the opera in only twelve days. It was a colossal failure when it premiered as Almaviva ; Paisiello's admirers were extremely indignant, sabotaging the production by whistling and shouting during the entire first act. However, not long after the second performance, the opera became so successful that the fame of Paisiello's opera was transferred to Rossini's, to which the title The Barber of Seville passed as an inalienable heritage.

Later in 1822, a 30-year-old Rossini succeeded in meeting Ludwig van Beethoven , who was then aged 51, deaf, cantankerous and in failing health. Communicating in writing, Beethoven noted: “Ah, Rossini. So you’re the composer of The Barber of Seville. I congratulate you. It will be played as long as Italian opera exists. Never try to write anything else but opera buffa; any other style would do violence to your nature.” [4] Marriage and mid-career Between 1815 and 1823 Rossini produced 20 operas. Of these Otello formed the climax to his reform of serious opera, and offers a suggestive contrast with the treatment of the same subject at a similar point of artistic development by the composer Giuseppe Verdi . In Rossini's time the tragic close was so distasteful to the public of Rome that it was necessary to invent a happy conclusion to Otello. Caricature by H.

Mailly on the cover of Le Hanneton, July 4, 1867 Conditions of stage production in 1817 are illustrated by Rossini's acceptance of the subject of Cinderella for a libretto only on the condition that the supernatural element should be omitted. The opera La Cenerentola was as successful as Barbiere. The absence of a similar precaution in construction of his Mosè in Egitto led to disaster in the scene depicting the passage of the Israelites through the Red Sea , when the defects in stage contrivance always raised a laugh, so that the composer was at length compelled to introduce the chorus "Dal tuo stellato soglio" to divert attention from the dividing waves. In 1822, four years after the production of this work, Rossini married the renowned opera singer Isabella Colbran . In the same year, he moved from Italy to Vienna where his operas were the rage of the audiences. He directed his Cenerentola in Vienna , where Zelmira was also performed.

After this he returned to Bologna, but an invitation from Prince Metternich to come to Verona and "assist in the general re-establishment of harmony" was too tempting to refuse, and he arrived at the Congress in time for its opening on October 20, 1822. Here he made friends with Chateaubriand and Dorothea Lieven . In 1823, at the suggestion of the manager of the King's Theatre , London, he came to England, being much fêted on his way through Paris. In England he was given a generous welcome, which included an introduction to King George IV and the receipt of £7000 after a residence of five months. The next year he became musical director of the Théâtre des Italiens in Paris at a salary of £800 per annum. Rossini’s popularity in Paris was so great that Charles X gave him a contract to write five new operas a year, and at the expiration of the contract he was to receive a generous pension for life.

End of career Gioachino Rossini, photographed by Félix Nadar , 1858 During his Paris years, between 1824 and 1829, Rossini created the comic opera Le Comte Ory and Guillaume Tell (William Tell). The production of his Guillaume Tell in 1829 brought his career as a writer of opera to a close. He was thirty-eight years old and had already composed thirty-eight operas. Guillaume Tell was a political epic adapted from Schiller’s play (1804) about the thirteenth century Swiss patriot who rallied his country against the Austrians. The libretto was by Étienne Jouy and Hippolyte Bis , but their version was revised by Armand Marrast [5] . The music is remarkable for its freedom from the conventions discovered and utilized by Rossini in his earlier works, and marks a transitional stage in the history of opera, the overture serving as a model for romantic overtures throughout the 19th century. Though an excellent opera, it is rarely heard uncut today, as the original score runs more than four hours in performance.

The overture is one of the most famous and frequently recorded works in the classical repertoire. In 1829 he returned to Bologna. His mother had died in 1827, and he was anxious to be with his father. Arrangements for his subsequent return to Paris on a new agreement were temporarily upset by the abdication of Charles X and the July Revolution of 1830. Rossini, who had been considering the subject of Faust for a new opera, did return, however, to Paris in November of that year. Six movements of his Stabat Mater were written in 1832 by Rossini himself and the other six by Giovanni Tadolini , a good musician who was asked by Rossini to complete the work. However, Rossini composed the rest of the score in 1841.

The success of the work bears comparison with his achievements in opera, but his comparative silence during the period from 1832 to his death in 1868 makes his biography appear almost like the narrative of two lives—the life of swift triumph and the long life of seclusion, of which biographers give us pictures in stories of the composer's cynical wit, his speculations in fish culture, his mask of humility and indifference. Later years Gioachino Rossini, photographed by Étienne Carjat, 1865 His first wife died in 1845, and on August 16, 1846, he married Olympe Pélissier , who had sat for Vernet for his picture of Judith and Holofernes. Political disturbances compelled Rossini to leave Bologna in 1848. After living for a time in Florence , he settled in Paris in 1855, where his house was a centre of artistic society.

Rossini had been a well-known gourmand and an excellent amateur chef his entire life, but he indulged these two passions fully once he retired from composing, and today there are a number of dishes with the appendage "alla Rossini" to their names that were either created by him or specifically for him. Probably the most famous of these is Tournedos Rossini , still served by many restaurants today. In the meantime, after years of various physical and mental illnesses, he had slowly returned to music, composing obscure little trifles intended for private performance. These Péchés de vieillesse ("Sins of Old Age") are grouped into 14 volumes, mostly for solo piano, occasionally for voice and various chamber ensembles. Often whimsical, these pieces display Rossini’s natural ease of composition and gift for melody, showing obvious influences of Beethoven and Chopin, with many flashes of the composer’s long buried desire for serious, academic composition. He died at his country house at Passy on Friday, November 13, 1868. He was 76 years old. He was buried in Père Lachaise cemetery in Paris, France.

In 1887, his remains were moved to the Basilica di Santa Croce di Firenze , in Florence, at the request of the Italian government. Rossini's now-empty tomb at Père Lachaise Cemetery in Paris Honors and tributes Rossini was a foreign associate of the institute, grand officer of the Legion of Honour and recipient of innumerable orders. Immediately after Rossini's death, Giuseppe Verdi proposed to collaborate with twelve other Italian composers on a "Requiem for Rossini," to be performed on the first anniversary of his death, conducted by Angelo Mariani . The music was written, but the performance was abandoned shortly before its scheduled premiere. Verdi re-used the Libera me, Domine he had written for the Rossini Requiem in his 1872 Requiem for Manzoni . In 1989 the conductor Helmuth Rilling recorded the original "Requiem for Rossini" in its world premiere. Notes Portrait of Gioachino Rossini by Francesco Hayez , 1870.

Pinacoteca di Brera, Milan In his compositions, Rossini plagiarized freely from himself, a common practice among deadline-pressed opera composers of the time. Few of his operas are without such admixtures, frankly introduced in the form of arias or overtures. For example, in Il Barbiere there is an aria for the Count (often omitted) 'Cessa di più resistere', which Rossini used (with minor changes) in the cantata Le Nozze di Teti e di Peleo and in La Cenerentola (the cabaletta for Angelina's Rondo is almost unchanged). Moreover, four of his best known overtures, ( La cambiale di matrimonio , Tancredi , La Cenerentola and The Barber of Seville ), share operas apart from those with which they are most famously associated. A characteristic mannerism in Rossini's orchestral scoring is a long, steady building of sound over an ostinato figure, creating "tempests in teapots by beginning in a whisper and rising to a flashing, glittering storm," [6] which earned him the nickname of "Signor Crescendo ".

A few of Rossini's operas remained popular throughout his lifetime and continuously since his demise; others were resurrected from semi-obscurity in the last half of the 20th century, during the so-called " bel canto revival." According to Herbert Weinstock's 1968 biography (see below), the composer's estate was valued at 2.5 million francs upon his death in 1868, the equivalent of about 1.4 million US dollars. Works Rossini's final resting place, in the Basilica of Santa Croce, Florence References This article incorporates text from a publication now in the public domain : Chisholm, Hugh, ed (1911). Encyclopædia Britannica (Eleventh ed.). Cambridge University Press. Burton D. Fisher, The Barber of Seville (Opera Classics Library Series). Grand Rapids: Opera Journeys, 2005.

Philip Gossett, "Rossini, Gioachino" in Grove Music Online (Oxford Music Online, November 17, 2009) Richard Osborne, Rossini: His Life and Works (Oxford: Oxford University Press, 2007) Richard Osborne, "Rossini" in The Musical Times, Vol. 127, No. 1726 (December 1986), 691 (Musical Times Publications Ltd.) Michael Steen, The Lives and Times of the Great Composers (NY: Oxford University Press, 2004) H. Weinstock, Rossini: A Biography (New York, 1968) Notes ^ "Though "Gioacchino" is the familiar spelling of the name, Rossini himself more usually adopted the spelling "Gioachino". This is now the accepted spelling of his first name" - Richard Osborne: Rossini (The Master Musicians series), London: Dent, 1986, p. xv.

The New Grove Dictionary of Opera (1992), edited by Stanley Sadie , vol 4, pp 56-67 and elsewhere, Baker's Biographical Dictionary of Musicians and most Rossini scholars (including the Fondazione G. Rossini [1] and the Center for Italian Opera Studies at the University of Chicago [2] ) use "Gioachino". ^ Fisher, Burton D. The Barber of Seville (Opera Classics Library Series). Grand Rapids: Opera Journeys, 2005. ^ Michael Rose, "Mercadante: Flute Concertos", booklet accompanying the 2004 RCA CD recording with James Galway and I Solisti Veneti under Claudio Scimone . ^ Fisher, Burton D.

The Barber of Seville (Opera Classics Library Series) ^ See Les aventures militaires, littéraires et autres d'Etienne de Jouy by Michel Faul pp.139–141(Editions Seguier, France, March 2009, ISBN 978-2-8404-9556-7 ) ^ Faddis, H., 2003, Program Notes for the Overture to La scala di seta , Cape Anne Symphony (accessed 2 May 2007); See also Rossini Overtures, Liner Notes , Chandos (Chan 9753) External links Gioachino Rossini- Bio, Albums, Pictures – Naxos Classical Music. GIOACHINO ROSSINI (1792 - 1868) Rossini occupied an unrivalled position in the Italian musical world of his time, winning considerable success relatively early in his career. The son of a horn player and a mother who made a career for herself in opera, as a boy he had direct experience with operatic performance, both in the orchestra pit and on stage.

His operas from his first relative success in 1810 until 1823 were first performed in Italy. There followed a period of success in Paris, leading to his final opera, Guillaume Tell (‘William Tell’), staged in Paris in 1829. The revolution of 1830 prevented the fulfillment of French royal commissions for the theatre, but in his later life he continued to enjoy considerable esteem—both in Paris, where he spent much of his last years, and in his native Italy. There he spent the years from 1837 to 1855, before returning finally to France, where he died in 1868. The last 40 years of his life were creatively silent: no more operas issued from his pen. Operas Of Rossini’s three dozen or so operas, Il barbiere di Siviglia (‘The Barber of Seville’) is probably the best known, a treatment of the first play of the Figaro trilogy by Beaumarchais on which Mozart had drawn 30 years earlier in Vienna.

Other well-known comic operas by Rossini include La scala di seta (‘The Silken Ladder’), Il Signor Bruschino, L’italiana in Algeri (‘The Italian Girl in Algiers’), Il Turco in Italia (‘The Turk in Italy’), La Cenerentola (‘Cinderella’) and La gazza ladra (‘The Thieving Magpie’). More serious subjects were tackled in Otello, Semiramide, Mosè in Egitto (‘Moses in Egypt’) and the French Guillaume Tell (based on the play by Schiller). The overtures to many of these operas are a recurrent element in the repertoire of the concert hall. Church Music Church music by Rossini includes the Petite Messe solennelle, originally for 12 solo voices, two pianos and harmonium but rescored four years later, in 1867, with orchestral accompaniment. Rossini’s Stabat mater was written in 1841 in its final version.

Chamber Music Instrumental compositions by Rossini include his early string sonatas, designed for two violins, cello and double bass and thought to have been written when the composer was 12. The string sonatas show a precocious command of Italian operatic style, here translated into instrumental terms. The so-called Péchés de vieillesse (‘Sins of Old Age’) consist of 13 volumes of varied music, some vocal, some instrumental (five designed for the piano). They consist of pieces that demonstrate both the well-known wit of the composer as well as his continuing technical command of musical resources. Box Set Release Gioacchino Rossini — Free listening, videos, concerts, stats and photos at Last.fm rossini Gioachino Antonio Rossini (February 29, 1792 – November 13, 1868) was an Italian composer who wrote 39 operas as well as sacred music, chamber music, songs, and some instrumental and piano pieces.

His best known operatic works include Il barbiere di Siviglia (The Barber of Seville), La Cenerentola, La gazza ladra (The Thieving Magpie) and Guillaume Tell (William Tell). A tendency for inspired, song-like melodies is evident throughout his scores, which led to the nickname "The Italian Mozart." Until his… read more Operas by Gioachino Rossini: The Barber of Seville, Matilde di Shabran, Tancredi, William Tell, La Cenerentola, L'italiana in Algeri: Amazon.es: Source: Wikipedia: Libros en idiomas extranjeros Libros en idiomas extranjeros AÃ±adir a la Lista de deseos Â¿Tienes uno para vender? Volver atrÃ¡s Ir adelante Escuchar Reproduciendo... Interrumpido EstÃ¡s escuchando una muestra de la ediciÃ³n de audio Audible.

MÃ¡s informaciÃ³n Ver esta imagen Operas by Gioachino Rossini: The Barber of Seville, Matilde di Shabran, Tancredi, William Tell, La Cenerentola, L'italiana in Algeri (InglÃ©s) Tapa blanda – 15 ago 2011 Tapa blanda, 15 ago 2011 "Vuelva a intentarlo" DescripciÃ³n del producto Reseña del editor Please note that the content of this book primarily consists of articles available from Wikipedia or other free sources online. Pages: 34.

Chapters: The Barber of Seville, Matilde di Shabran, Tancredi, William Tell, La Cenerentola, L'italiana in Algeri, Aureliano in Palmira, La donna del lago, Semiramide, List of operas by Rossini, La pietra del paragone, Armida, Il viaggio a Reims, Il turco in Italia, Zelmira, Le siège de Corinthe, La gazza ladra, Bianca e Falliero, Mosè in Egitto, La scala di seta, Adina, Maometto II, Il signor Bruschino, Elisabetta, regina d'Inghilterra, Le comte Ory, L'occasione fa il ladro, Demetrio e Polibio, Robert Bruce, Ermione, La cambiale di matrimonio, L'equivoco stravagante, L'inganno felice, Ricciardo e Zoraide, Otello, Torvaldo e Dorliska, La gazzetta, Sigismondo, Eduardo e Cristina, Ciro in Babilonia, Adelaide di Borgogna, Ivanhoé.

Excerpt: The Barber of Seville, or The Useless Precaution (Il barbiere di Siviglia, ossia L'inutile precauzione) is an opera buffa in two acts by Gioachino Rossini with a libretto by Cesare Sterbini. The libretto was based on Pierre Beaumarchais's comedy Le Barbier de Séville (1775), which was originally an opéra comique, or a mixture of spoken play with music. The première (under the title Almaviva, or the Useless Precaution) took place on 20 February 1816, at the Teatro Argentina, Rome. It was one of the earliest Italian operas to be performed in America and premiered at the Park Theater in New York City on 29 November 1825. Rossini's Barber has proven to be one of the greatest masterpieces of comedy within music, and has been described as the opera buffa of all opere buffe; even after two hundred years, its popularity on the modern opera stage attests to that greatness.

An opera based on the play had previously been composed by Giovanni Paisiello, and another was composed in 1796 by Nicolas Isouard. Though the work of Paisiello triumphed for a time, Rossini's later version alone has stood the test o... No es necesario ningÃºn dispositivo Kindle. DescÃ¡rgate una de las apps de Kindle gratuitas para comenzar a leer libros Kindle en tu smartphone, tablet u ordenador. Apple

Question: Who composed the operas 'La Cenerentola' and 'The Barber of Seville'?
Answer: GIOACCHINO ROSSINI